Preparation Strategies in Percussion for the Music of J. S. Bach, Joseph Schwantner, and Iannis Xenakis

Abstract

In order to reach an optimal performance level, it is important that performers fully understand the music being presented; be technically, physically, and mentally ready to perform; and be content and satisfied with themselves. Appropriate preparation will help a performer to advance the performance quality and efficiency, develop musicianship and confidence, and achieve an optimal performance even under pressure. For technical and physical preparation, it is important to incorporate multiple senses when practicing while having specific practice goals in mind. The mental side of practice includes developing trust, devising coping skills for performance anxiety, and understanding the purpose of performing as an opportunity to share with an audience rather than focusing on making no mistakes. The Allemande from Cello Suite No.5 by J. S. Bach challenges the performer's sensitivity to clearly enunciate nuances in the music. It is also difficult to play cello music on the marimba because of the different nature of resonance. Harmonic analysis and listening skills in hearing important chord progressions, chord functions, voice leading, etc. should be the main focus for learning tonal music. Velocities by Joseph Schwantner (a contemporary marimba solo) presents physical and mental demand. Slow kinesthetic-based practice is necessary to develop a refined muscle memory. Cognitive-based practice, such as making a mental map, visualization, and anticipation will help to develop conscious explicit memory, which in turn helps retrieving the automated memory. Players can add an exercise regimen to develop physical strength, control, endurance and flexibility. For Psappha by Iannis Xenakis (a multiple percussion solo), performers need to find their own instruments and setup, manage unfamiliar grid notation, and conceive a proper interpretation. Analysis of the music takes a primary role in understanding the piece. The author suggests rewriting the notation by assigning a syllable to each sound, and practice by chanting it. This helps to free the players from reliance on muscle memory, allows them to practice without the actual instruments, and enhances player's musical intuition.